Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Hutchinson, Brenda


(b Trenton, NY, 15 June 1954). American composer. She studied under Oliveros, Roger Reynolds, Rands and Erickson at the University of California, San Diego (MM 1979), and received additional instruction in electronic and computer music from John Chowning and Allen Strange. She has served as artist-in-residence at the Exploratorium in San Francisco, at Mills College in Oakland and at Harvestworks, New York, and has worked as an engineer and adviser on a series of recordings for Harvestworks-Tellus. Hutchinson became interested in sound and electronics from an early age. Much of her work focusses on the development of sound-altering instruments, among them the ‘long tube’, her own creation on which she performs with the improvisation group Vorticella. Her output encompasses a variety of media with emphasis on vocal performance, pre-recorded sounds and stories, and invented instruments. She is the co-writer of the soundtrack for the film Liquid Sky.

WORKS


(selective list)

Installations: Everyone was a Captain, mixed media, Staten Island, NY, 1992; Listen for a Change, installation and radio series, San Francisco, 1992; Norris, elevator shaftway installation, New York, 1992; Giant Music Box, interactive exhibit, San Francisco, 1992; Whistling Walls and Windows, mixed media, San Francisco, 1994, collab. M. Olexo

Concert pieces: (el-ac): Fly Away All (op, T. Shank), solo vv, mime, sampler, 1987–8, MN, 1988; A Grandmother’s Song, 1v, pre-rec. stories, ambiences, 1979; Apple Etudes, 1v, pre-rec. stories, ambiences, 1982; Liquid Sky (film score, dir. S. Tsukerman), elecs, 1982, collab. C. Smith; Joy Chorus, female chorus, sampler, 1988 [from Fly Away All]; EEEYAH!, 1v, bass drum, bell, tape, 1989; Voices of Reason, Giant Music Box, elecs, pre-rec. stories, 1991; Long Tube Trio, vv, long tubes, 1993; Every dream has its number, live elecs, pre-rec. stories, 1996; How do you get to Carnegie Hall?, pf, pre-rec. stories, 1998

 

Principal recording company: Tellus

BIBLIOGRAPHY


B. Hutchinson: ‘Don’t Stop the Music’, Exporatorium Quarterly, x/4 (1986), 2–7

L. Wendt: ‘Vocal Neighborhoods: a Walk through the Post-Sound Poetry Landscape’, Leonardo Music Journal, iii (1993), 65–71

C. Boone: ‘Vanguard Composers in San Francisco’, P-form Magazine, no.33 (1994), 20–22

K. Gann: ‘Totalism and the 1990s’, American Music in the Twentieth Century (New York, 1997), 352–86

ELIZABETH HINKLE-TURNER


Hutchinson, John


(d ? York, c1657). English cathedral musician and composer. He was organist of Southwell Minster from about 1622 until at least January 1634 (he is named in the 1628 marriage registers and in the baptismal registers for January 1634); he is likely to have been the John Hutchinson who became organist of York Minster on 24 March 1634 and remained there until cathedral services were interrupted by the Long Parliament in 1646. It is unlikely that he was the son of Richard Hutchinson, as has sometimes been suggested.

WORKS


3 full anthems, GB-Cp, Cu, DRc, Lbl, LF, Mp, Y, US-BEm

8 verse anthems (1 with text only), GB-Cp, DRc, Lbl, LF, Mp

 

Lift up your heads, attrib. Hutchinson in Lbl, is by John or Thomas Mudd; Out of the deep, attrib. Hutchinson in Lbl, is by Adrian Batten

BIBLIOGRAPHY


P. Aston: The Music of York Minster (London, 1972)

W. Shaw: The Succession of Organists (Oxford, 1991)

PETER LE HURAY/WATKINS SHAW


Hutchinson, Richard


(bap. Durham, 4 Oct 1590; d Durham, 7 June 1646). English organist andcomposer. A former chorister at Durham Cathedral, he became Master of the Choristers there in 1613. He was not enamoured of the High Church innovations introduced into services by John Cosin, and gave a statement to parliament in March 1628. He had his own troubles too, for on 8 April 1627 William Smith (i) was paid 40s. ‘for his painestaking in the tyme Mr Hutchinson orgainest was in the Gaole’. In May 1628 he was deprived of his post as Master of the Choristers though he was allowed to continue as organist. He was also still required ‘to teach the Quiristers to play upon the virginalls or orgaines’. This situation persisted until certainly 1634, and it is not known whether he had been restored to his former post by the time choral services ceased in 1644. Three verse anthems, Lord, I am not high-minded, O God, my heart prepared is and O Lord, let my complaint (only one voice remains) and one five-part anthem, Ye that fear the Lord, are extant (in GB-Cp, DRc, Lbl and Y).

BIBLIOGRAPHY


P. Smart: Canterburies Crueltie (London, 1643) [see the addl matter in the copy at GB-Ctc]

G. Ornsby, ed.: The Correspondence of John Cosin, D.D., Surtees Society, lii (Durham, 1868); lv (Durham, 1870)

J. Buttrey: ‘William Smith of Durham’, ML, xliii (1962), 248–54

R.T. Daniel and P. le Huray: The Sources of English Church Music, 1549–1660, EECM, suppl.i (1972)

B. Crosby: A Catalogue of Durham Cathedral Music Manuscripts (Oxford, 1986)

W. Shaw: The Succession of Organists (Oxford, 1991), 90–91

B. Crosby: The Choral Foundation of Durham Cathedral c1350–c1650 (diss., U. of Durham, 1992), i, 182–6; ii, 74

PETER LE HURAY/BRIAN CROSBY


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